THEA 100 Lecture Notes - Lecture 23: Gas Lighting, John Wilkes Booth, Moving Panorama
Document Summary
Con ict between good and evil is always clear: there are no moral ambiguities in melodrama. Good will always win in the end: something to think about: Think of the setting of the life they lived: suspenseful plots with highly climactic endings. Think again interns of tied to the railroad tracks. There pieces push that ganger to the very end, when the hero at las rescues the damsel in distress. Very exciting. in some of these thaters, there might actually be train tracks on the stage, as we have entered an age of large stages and industrial mechanisms to aid in verisimilitude. In uence: the popularity of the melodrama did not die at the turn of the 19th century. With the advent of lm and tv, we saw a morphing of the form: silent lms. Delsarte"s acting style t the medium perfectly: westerns. The frontier drama turned into the western (the hero in the white hat: crime drama.
